Age: 91
female
Dame Judith Olivia "Judi" Dench, CH, DBE, FRSA (born 9 December 1934) is an English film, stage and television actress. Dench made her professional debut in 1957 with the Old Vic Company. Over the following few years she played in several of William Shakespeare's plays in such roles as Ophelia in Hamlet, Juliet in Romeo and Juliet and Lady Macbeth in Macbeth. She branched into film work, and won a BAFTA Award as Most Promising Newcomer; however, most of her work during this period was in theatre. Not generally known as a singer, she drew strong reviews for her leading role in the musical Cabaret in 1968. During the next two decades, she established herself as one of the most significant British theatre performers, working for the National Theatre Company and the Royal Shakespeare Company. In television, she achieved success during this period, in the series A Fine Romance from 1981 until 1984 and in 1992 began a continuing role in the television romantic comedy series As Time Goes By. Her film appearances were infrequent until she was cast as M in GoldenEye (1995), a role she played in each James Bond film until Skyfall (2012). She received several notable film awards for her role as Queen Victoria in Mrs. Brown (1997), and has since been acclaimed for her work in such films as Shakespeare in Love (1998), Chocolat (2000), Iris (2001), Mrs Henderson Presents (2005) and Notes on a Scandal (2006), and the television production The Last of the Blonde Bombshells (2001). Regarded by critics as one of the greatest actresses of the post-war period, and frequently named as the leading British actress in polls, Dench has received many award nominations for her acting in theatre, film and television; her awards include ten BAFTAs, seven Laurence Olivier Awards, two Screen Actors Guild Awards, two Golden Globes, an Academy Award, and a Tony Award. She was married to actor Michael Williams from 1971 until his death in 2001. They are the parents of actress Finty Williams.
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
